Disney's "Beauty and the Beast" Provides a Magical Start to the DPAC Season

Kyra Belle Johnson and Fergie L. Philippe. Disney's Beauty and the Beast. Photo by Mathew Murphy. ©Disney.

Durham Performing Arts Center’s (DPAC) 2025/2026 season has officially begun, and it’s off to an exhilarating start with Disney’s Tony Award® winning musical Beauty and the Beast. The musical, which is based on Disney’s 1991 animated film of the same name, first premiered on Broadway in 1994, making history in the process. Featuring direction and choreography by Matt West, an Academy Award®-winning score by Alan Menken, songs by Alan Menken and Howard Ashman, and additional songs written specifically for the stage by Alan Menken and Tim Rice, as well as a book by Linda Woolverton, who wrote the original screenplay, the musical is a truly magical delight from start to finish.

It begins, of course, with the fateful night when a spoiled young prince makes a tragic mistake and is transformed into the titular Beast (Fergie L. Philippe). He and his servants, who have been transformed into objects, are cursed to stay in their new form . . . unless the Beast can both love and earn love before time, measured by a slowly dying rose, runs out. Even this first scene features impressive magical effects, and they’re just a small taste of what’s to come. After all, if there’s one thing Disney is known for, it’s magic, and this musical has it in abundance.

Viewers are soon introduced to the story’s other protagonist, Belle, portrayed at Wednesday night’s performance by the talented and lovely Grace Marie Rusnica. Belle lives with her father, Maurice (Kevin Ligon), in a “little town” in a “quiet village,” a place where she doesn’t quite fit in. As she yearns to find more in life, the handsome-but-selfish Gaston (Stephen Mark Lukas) sets his sights on marrying her. Things go seriously awry, however, when Maurice ends up imprisoned in the Beast’s castle, after accidentally stumbling upon it in the woods. Belle bravely rushes off to save him and ultimately offers to stay in his place, firmly implanting her in Beast’s world.

In real life, this would obviously be a horrific scenario. But, this is a fairy tale, and so the enchanted objects see it as their chance to end the curse. Plus, Belle, despite her imprisonment, is no withering damsel in distress. Instead, she is plucky, courageous, and more than willing to stand up to the selfish, demanding Beast. In fact, Rusnica’s strong-willed performance is one of the production’s many highlights. Her Belle is as inviolable as she is sweet, which works well with Philippe’s snarling-but-ultimately-harmless portrayal of Beast. While he may look scary, Philippe plays him as more spoiled and whiny than evil, and the effect is oddly but perfectly charming. It also doesn’t hurt that both Philippe and Rusnica have impressive vocal ranges, excellent comedic timing, and a fun, playful chemistry that fizzles with possibility.

The two leads are also backed by an incredible supporting cast and plenty of that aforementioned Disney magic. Javier Ignacio makes for a wonderfully stodgy Cogsworth, and he plays nicely off of the debonair Lumiere, portrayed by a smooth-talking Danny Gardner. There’s also a sweet Mrs. Potts (Kathy Voytko), a silly Madame (Holly Ann Butler), and the cutest little Chip (Levi Blaise Coleman) you’ve ever seen. As these half-human, half-object characters urge Belle and Beast’s budding romance forward, they provide plenty of laughter and a sense of connection for the audience. By the end, viewers will want this unlikely couple to succeed just as much as they do.

And, speaking of the Disney magic, this show stands out for its incredible stagecraft. There are so many moments that cause even the most adult viewer to do a double-take. The second-act transformation scene, Chip’s disembodied appearance, and set pieces that roll in at just the right moment are only a small sampling of the sorcery that happens onstage. Nothing, though, beats the enchantment of the “Be Our Guest” number, which received a mid-scene standing ovation at Wednesday night’s performance. Clever lighting design (Natasha Katz) is used to create space and dimension that didn’t exist before, and West’s choreography is a fantastical swirl of tap-dancing, spinning, and spectacle. At one point in the number, the production even incorporates a unique overhead-view feature that allows the audience to really see the intricacy of the onstage dancing.

This isn’t the only place where West’s choreography shines either. Beer-guzzling dancers toss drinks and execute the most meticulous steps throughout the hilarious “Gaston” number. Also, to his credit, Lukas makes Gaston as lovable a buffoon as is humanly possible. With his show-stealing performance, it takes real work to remember he’s ultimately a villain.

Kudos are also owed to Stanley A. Meyer’s gorgeous set design, Ann Hould-Ward's sparkling costumes, and West’s effortlessly smooth direction. From the quiet, picturesque beauty of the French countryside to the glittering gloom of the Beast’s castle, every place and space feels real, alive, and captivating. Sets change and stars come out without a beat, and characters appear in the moment and on the stage as if they just suddenly materialized, adding an ethereal, immersive quality that transports viewers to a new and incredible world where anything is possible.

As the story winds its way to an action-packed finish, viewers will wish they could stay in this enchanted world just a little bit longer. Seeing this show, whether for the first time or the hundredth, is a surefire way to inject a little imagination and a whole lot of childlike wonder into your life. A perfect treasure for viewers of all ages, Beauty and the Beast is a can’t-miss hit for DPAC and a shining credit to the illustrious Disney name.

-Susie Potter